The exhibition touches the problem of transspecies communication and the changing definition of life in the context of information systems, and the changing definition of a human kind transformed by the recent technology from biotechnology, and the increasing prevalence of transgenic organisms and various human body integration with computerized machines — from various simple devices (smartphone) subject to the convergence of extended brain functions such as memory, numeracy, to the knowledge of foreign languages, or medical grounds, up to the senses such as sight, hearing (monitoring, interception) to advanced nanotechnology equipment to support the immune system, and performing various operations for the army (Smartdust). Works of art exploring the territory posthumanistic ideas in a critical way and without a utopian vision of the future, often refer to the category of FAKE as a subversive artistic methods. By free use of tactics FAKE questions are asked about the status of the cognitive sciences based on media-mediated experience – and therefore a blurring of the boundaries between knowledge and creativity.

Michał Brzeziński - Artist combining software-video activities with biological material systems, futurologist of culture. His roots of the artistic activitiy have ground in music subcultures and video art. His wide, theory based, artistic and curatorial activity had animated theoretical discourse touching video-identity problem in the years 2000 to 2010 in Poland. Curator working with galleries such as the Museum of Art in Łódź, Center for Contemporary Art Łaźnia in Gdańsk, and Contemporary Art Center Bunkier Sztuki in Kraków. Referring to the conceptual art and mediated experience of recent art transforms art itself and englobe into video art, formulated the strategy describes this process as Fake Art, arising from the antimaterialistic theory of art as communication.